In today's world, Roads in February has become a topic of increasing interest to people of all ages and backgrounds. Whether we are talking about the importance of mental health, the technological revolution, women's empowerment, or any other topic, Roads in February is a fundamental element that has gained relevance in all spheres of life. From its impact on politics and the economy, to its influence on popular culture, Roads in February is an aspect that we cannot ignore. In this article, we will explore how Roads in February has transformed the way we think and act, and how its presence continues to shape our world in ways that were previously unimaginable.
| Roads in February | |
|---|---|
| French | Les Routes en février |
| Directed by | Katherine Jerkovic |
| Written by | Katherine Jerkovic |
| Produced by | Nicolas Comeau Micaela Sole |
| Starring | Arlen Aguayo-Stewart |
| Cinematography | Nicolas Canniccioni |
| Edited by | Sophie Farkas Bolla |
| Music by | Inés Canepa David Drury |
Production companies | 1976 Productions Cordón Films |
Release date |
|
Running time | 84 minutes |
| Country | Canada |
| Language | Spanish |
Roads in February (French: Les routes en février) is a 2018 Canadian drama film directed by Katherine Jerkovic.[1] It was screened in the Contemporary World Cinema section at the 2018 Toronto International Film Festival,[2] where it won the award for Best Canadian First Feature Film.[3] The film centres on Sara (Arlen Aguayo-Stewart), a young Hispanic Canadian woman visiting her grandmother in Uruguay.[4]
In December 2018, the Toronto International Film Festival named the film to its annual year-end Canada's Top Ten list.[5] The Vancouver Film Critics Circle awarded Aguayo-Stewart as Best Actress in a Canadian Film and Jerkovic received the One to Watch Award.[6]
Critical response to the film was positive. The Hollywood Reporter's Boyd Van Hoeij called it "a promising debut feature". And Norman Wilner from Now Toronto called Jerkovic "a gifted, intuitive storyteller who doesn't need to oversell her story's emotional undercurrents; she trusts her audience to understand what's going on simply by paying attention to her actors' faces". It scores 86% on Rotten Tomatoes.[7]